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assicurare la propria sopravvivenza altrove … In esilio si può stare in due modi: c’è un modo di andare in esilio semplicemente per salvarsi la pelle, insomma, per assicurare la propria sopravvivenza; c’è invece un modo di andare in esilio per continuare a lottare, perché nel proprio paese non è possibile, in quanto si finirebbe in galera, o addirittura fucilati. 1 Exile, as we generally and historically know it, is the situation of few or many individuals who
) lies not in the banal, everyday existence of its denizens, but in the visionary ‘dispossessed’. One of the living writers Sinclair celebrates is Michael Moorcock, who, in Rodinsky’s Room , is described as ‘another exile; the great Londoner, memory conduit, had shifted himself [to Texas]’. 7 Moorcock actually does live in Texas: he is seen in his home in the Petit–Sinclair film Asylum . However, the motif of exile is a recurrent one in the figures that Sinclair investigates, the ‘outsiders’. In Edge of the Orison , we find the same figure
been relegated to the shadowy areas of a little spoken past. But these are precisely the themes that inform Denis’ filmmaking. Issues relating to colonialism and postcolonialism, to exile and alienation, always at play in her work, are central to the films discussed in this chapter. Chocolat’s lush natural and historical setting and Beau travail’s stunning open landscapes on the one hand, and S
Anselm’s decision to go into exile. 4 The Icelandic Saga provides an elaborate gloss: the hedgehog represents Thomas, the stiffness of his hair his defence against assailants, and its roughness his harsh manner of life; the Acts of the Apostles on his back represents Thomas’s adherence to their footsteps; the blind are those who hate godly light and walk in the
138 4 Screening internal exile Introduction: Confino as holiday Film has received short shrift in studies on internal exile during Fascism. Those who write on it tend to mention only two films on the subject, in most cases quite briefly: Ettore Scola’s Una giornata particolare (A Special Day, 1977) and Francesco Rosi’s Cristo si è fermato a Eboli (Christ Stopped at Eboli, 1979), which narrate the experience in disparate fashions.1 In the former, internal exile is briefly referenced, while the latter visualises the experience of political confinement
5 Emigrants and exiles: the political nationalism of the Irish diaspora since the 1790s David T. Gleeson In February 1995, President Mary Robinson gave an address to a joint session of the Oireachtas (Irish Parliament) titled ‘Cherishing the Diaspora’, explaining in more detail the promise in her inaugural speech to ‘represent’ the ‘over 70 million people of this globe who claim Irish descent’.1 Irish emigration had long been in the consciousness of the Irish people, but it seemed to many that the story had ended at the water’s edge. Quoting poet Eavan Boland
Paranoia for the exile is a prerequisite of survival. (Salman Rushdie, The Satanic Verses ) Exile is life led outside habitual order. It is nomadic, decentred, contrapuntal; but no sooner does one get accustomed to it than its unsettling force erupts anew. (Edward Said, Reflections on Exile ) 1
91 3 Writing internal exile Writing confinement This chapter examines internal exile as it appears in literary fiction, personal correspondence, and memoirs. Unlike in the previous discussion of the history of confinement, the concern is not with the investigation and deployment of truths but rather with representational strategies; we are interested in how these texts convey information and how they suppress it. The questions addressed in the following sections, then, are the following: How did people write about their experiences in internal exile? What did
. ‘There is no way I can make enough money to pay my English taxes.’ 3 Despite his professed Marxism, Losey had grown too attached to the good life to take a drastic cut in lifestyle. Consequently, he and his fourth wife Patricia decided to uproot themselves from the high-rent comforts of Chelsea’s Royal Avenue and move their base of operations to the rue du Dragon in Paris. In April 1975 they officially became tax exiles
2499 Chap1 7/4/03 2:41 pm Page 1 1 The context of exile: communities, circumstances and choices Quitter la France est, pour un français, une situation funèbre. (Honoré de Balzac, Le Cousin Pons)1 An independent-minded people, with a strong cultural awareness and attachment to region, if not always to nation, the French have generally made unhappy exiles. It has been their misfortune that the many crises punctuating French history have compelled them to take refuge abroad, especially in Britain, a land that is so ‘alike’ France yet so ‘different’.2 In the